Biutiful

Inarritu's three previous films---Amores Perros, 21 Grams and Babel---are classified together as the Death Trilogy, as they each depict the exponential impact of fatal or near-fatal occurrences in the interconnected existence of separate lives. They are each epic, punch-packing dramatic powerhouses. But now I see he still had much more to say on the literally infinite subject of death. And he says it with Biutiful, a purely experiential film that pierces through the heart with the acuity of a stingray barb.

The narrative here is a rail tunnel of raw, sprawling intimacy set in an overpopulated, decaying Barcelona ghetto. We follow Uxbal, and we're not entirely sure what he does. Neither does anybody, or him really. Much of the things he does are criminal, mainly mitigating between corrupt police and illegal aliens, with often catastrophic results. He is also a dedicated father to two young children whose mother, his ex-wife, is a wreck of alcohol, bipolarity and promiscuity, and worse, knows her inability to control herself and is in a quicksand of bettering herself. Uxbal also has prostate cancer, which is rapidly spreading. Also, he is internally connected with the afterlife. He doesn't see visions, he doesn't clutch shoulders and see the manner of one's impending death. He purely senses a recently deceased spirit in the room with him. He can do nothing about their situation. He just senses them.

Uxbal's ability to feel the presence of departed souls is portrayed like a sort of capacity to hear noise at the volume at which, say, a dog could only be expected to hear it. The film's setting and happenings are a jerky, spontaneous, lateral rush of urban business, like the sight, sound and fury made by the living to distract themselves from the silence of death. Each scene seems to be a concordance of extroverted behavior and internal behavior, both with equal fervor, yet both on either side of some two-way mirror. Only those characters, namely Uxbal, whose conflicts and dilemmas are constantly internalized, can hear that silence. Eventually, his daughter does as well, and becomes the closest to him, in what one might go as far as to consider the film's climax, a bear-like hug they both know is as fleeting as every other action in this desperate commotion of a life they lead.

Iñárritu intends to drain us. Physically, internally, emotionally. And he cleans out his total cinematic armory to do so. And like death, that is both a blessing and a curse. For however harrowing it is, Biutiful exalts us with the chance to see soul bare, through Javier Bardem's performance as Uxbal. Watching Bardem absorb, involve and ultimately possess a many-sided role like Uxbal's is a singular delicacy, and a complete wonder. His eyes speak agonizing tomes. He hauls from an unfathomably mysterious spring of passion, grief, and who knows what else.

One might be able to delineate that Bardem renders a tragic individual as a fading Barcelona forager who deals in illegal immigrants and connects with the deceased. But every now and then, a story materializes, conveyed in a way that is so sprawling, so comprehensive, that no one premise or implication can classify it. Attempting to definitely describe it limits something that offers the utmost magnitude of whatever an actor's, a filmmaker's, and viewer's, understanding. That is what makes Biutiful so precious.

"Biutiful" is devastating. Not only isn't it a comfortable and audience-pleasing film but in this case the story's really shocking, well acted and directed and, overall, terribly sad. The film is basically about good and evil, death and life and similar topics. These themes are very effectively expressed in its atmospheric and innovative photography. Iñarritu's camera gets to detect images of fierce and brilliance in the squalor. Javier's face is painted with light and shadows, as well as with a sinister appearance suggesting strong contrition and redemption. Uxbal's efforts to make some generous deeds before his death are rendered in a terrific performance, which manages to elevate the bleak subject to a sublime level. "Biutiful" is a work of extraordinary vitality and humanity, with figures of untarnished quality (Uxbal's children and the Senegalese immigrant who'll raise them after his death). On a personal level Uxbal comes to terms with the close death but eventually shows a vision of reconciliation with the life he must leave behind. Watching the film is a really a must.

Biutiful is a rather complex and interesting film, one that I have to admit is still sinking in as I'm still piecing together the dots of a rather sprawling storyline. Biutiful is a film that exists within the margins of society, it's everywhere we don't want to live, it's everyone we don't want to meet; it's all the struggles we'd rather not face and then some. As a result, the film is loud, violent, crazy, shameful, desperate, dirty and all other manner of words that describe the run down storefronts and apartments of the worst lived areas. Intelligently and bravely the films central idea is lost in the crowd, as obscured as the desires of its inhabitants, it's a confusing and chaotic place to be, but it works here where it wouldn't elsewhere. I would really like to watch this one again in hopes of better connecting the dots of a life lived on the fringe of society, entrenched in wrong doing, but not without its struggle with sensible moral. I think the idea behind Biutiful is that life, no matter how destitute and forgotten can be beautiful, it all depends on how you except and claim it.

Biutiful is the story of Uxbal, a shady man who's life is filled with turmoil, from admissions of an uncared for terminal illness, to unstable lovers, to unruly children, to spirits of which he can commune, to the lives of the underpaid migrant workers that he pimps out to whoever will employ them. It's easy for Uxbal to look back on his forty year existence and measure it in disappointments. But Uxbal is also a sensitive and caring man, who is able to make these admissions and in doing so take the steps to make his life it's own unique form of biutiful, but with a city more a crumbling metropolis and people who bar his progress with any step, can Uxbal truly bring some semblance of beauty to his life before it is painfully cut short, or will the darkness and depravity of the world around him swallow him and his desires whole, the answer is well worth discovering.

So I just can't say a whole lot with one viewing, but there are some things that stand out immediately. The film is several things, sad, funny, scary, creepy, intense, and as obvious as it seems, beautiful. Definitely some of the nicest camera work this year, yes it's sometimes shaky but you must consider the imagery it captures; some scenes are purely blissful for a film fan to witness. The editing is so great here that even though you know where the film is going its still exciting to get there. Javier Bardem gives a brilliant performance here, and it will take awhile for the viewer to except that Uxbal is an undesirable, but once you allow yourself to slip into his shoes, you begin to really get a sense of the man and his life. The seediness of the streets, and the strife and struggle of the humans in them are written all over this man, and Bardem really gives himself over to this character, warts and all, and gives us a brilliantly flawed person worthy of our attention. The rest of the cast is also well played, their stories contain their own levels of thoughtfulness and intrigue that both separates and connects to and from our protagonist intelligently. The script feels very human, there are no major verses of dialogue, people talk, feel and behave very naturally in this film, despite all coming from abnormal situations. Virtually no exposition on why this film exists, its meaning is wonderfully felt but not fully explained. The direction is so subtly smart that I was surprised to miss some of the most inventive and thought provoking foreshadowing I've seen in a film. Really just an all out creative and arresting affair, I'm trying hard not to use the word beautiful, but its fits every gritty frame of this film. The cinematography is awesome, really blown away thinking back to the brilliance of some of these shots, great work with the actors and the environments. My only complaint is that sound editing got a little to jarring, I get it's supposed to be an ugly film, but high pitched beeps and boops are annoying anyway you cut it (the 2001 monolith can suck it, thanks Kubrick), it drives home the madness of the setting, but I actually covered my ears at one point to muffle the noise. Other than that, the film is wildly challenging and rewarding for the viewer, I am blown away by the artistry here, it took this film to great heights, it made ugly pretty, which is no easy feat. If you don't like your films themes to be cut and dried, you're going to want to check out, pick apart and decipher the themes and mysteries of Biutiful, as it is more than deserving of such treatment.

So yes I liked this film quite a bit, but will hasten to rave until I've fully understood the motive of it. Thematically it's no straightforward story, there's something deep underneath all the grime, and I'm glad I dirtied my hands on it, and can't wait to do so again. A film for those who love long walks on the wild side and never choose the easy way out; a real decent thinking persons movie. A film in a class of it's own that breaks conventions in the best ways possible, and definitely among the years best films that I've seen thus far. Recommended.

Biutiful is a departure and a confirmation for Mexican director Alejandro Gonzalez Inarritu: on the one hand, it is another study of lives gone awry, with no punches pulled in regards to the misery experienced by the characters; on the other, it's the first film he's made he parted ways with screenwriter Guillermo Arriaga, who preferred to move on to other projects after Babel. Biutiful proves two things: firstly, Inarritu remains very good at constructing memorable images; secondly, these aren't worth quite as much without Arriaga's words.

Set in Barcelona, the film ditches the filmmaker's traditional fragmented, multi-character narrative, focusing solely on one imposing figure: Uxbal (Javier Bardem), a man who has to deal with his own imminent death from cancer, a dire relationship with his family (wife, kids and brother), his ties to local criminal activities and, more generally, the ugliness he sees every day walking down the streets. Surely the (intentionally misspelled) title must be ironic.

Working on the script himself, Inarritu goes for a simpler story, but doesn't renounce his penchant for harrowing material. In fact, Biutiful is undoubtedly the least cheerful film he's directed to this day, and that's saying something. His depiction of a gray, ugly Barcelona is faultless, exposing the city's seedy underbelly and disease (both physical and spiritual) with genuine, relentless storytelling passion. However, this is also detrimental to the film's impact: without Arriaga's more experienced take on the subject, the director doesn't know when to stop, throwing in one tragedy after another for the best part of the movie's 148 minutes, with no pause for breathing. It's almost too bleak, too tragic, to fully convince as a drama.

Does this mean all the praise Inarritu has received in the past was premature? Not really. Even his detractors usually acknowledge his talent with actors, and in this case, perhaps being aware of the script's shortcomings, he has hit the jackpot: from start to finish, Bardem is a revelation, justly awarded with the Best Actor prize in Cannes. Sure, he's always been a gifted thespian, and no stranger to difficult parts (see The Sea Inside), but here he's really in a class of his own. Communicating with his sad, tired eyes rather than his broken voice, he carries the whole picture with a stoic dignity that is always gripping and heartbreaking.

While easy to mock and criticize, Biutiful, for all its flaws, warrants at least one viewing on the grounds that it proves beyond doubt that sometimes a truly astounding performance can save an otherwise mediocre film.

"Biutiful" is a sublime and intense epic - and possibly the best film of the year. Even though its setting is very different, the film shares themes with "American Beauty", and succeeds in creating something close to a modern myth. It tells the story of Uxbal, the tough but loving single father of two young children, separated from his self-destructive bi-polar wife. He scrapes a living in the backstreet black economy of Barcelona, where he operates as a middleman for those who exploit illegal immigrant labor. Uxbal possesses the psychic ability to convey messages from the recently deceased - and sometimes he compromises his principles by accepting payment for this gift.

Uxbal's conflicted way of life reflects the essential human condition - trapped between the spiritual and material worlds. When he learns that he's terminally ill with cancer, his body seems to be manifesting his inner discord. After learning his fate, Uxbal begins searching for a trustworthy person to raise his two children after his death - and "Biutiful" tells of his struggle to accomplish this task while dark forces throw obstacles in his path. Those who have seen Inarritu's previous film "Amores Perros" will find themselves in familiar territory as Uxbal weaves his way through multitudes of desperate souls battling for survival. On the surface there's only the brutality of a dog-eat-dog world, alleviated by brief moments of tenderness and self-sacrifice. Hidden amidst the chaos, one can see the age-old journey of the immortal hero towards liberation.